Recommended by Daniel Prillaman

Sometimes, all you need is a striking image and a rule. The image, a staircase where there shouldn't be. The rule, don't step on it. Perlman ratchets up the creepy suspense and casual menace by letting our minds do the work of imagining the terror and "what ifs," and it's a wild ride. The radios add a special layer of atmosphere, really allowing the audience to feel the isolation of the setting. All that and the fact it takes place during the daytime? You've got a lovely, unconventional horror short for any festival. Well done.

Unfortunately for Marcus and Sextus (wonderful for us), they make bloody brilliant tour guides. Part history lesson, part buddy comedy, Plummer's play provides us two perfect foils and chuckles as infinite as their ghostly plight. I could imagine the taking entire stroll (sorry, patrol) with a pint in hand and smile on my face, ghost watching our legionaries as they mill about the entirety of Southwark. What used to be Southwark. Where is London Bridge now again? Hilarious.

I LOVED reading this. Strayer's play is brutal, yet delicate, and theatrically enthralling as Jane and Ophelia both struggle to articulate anguish that cannot be put into words or song. The whole piece results in a mind-bending, intricate puzzle of trauma and grief, a brilliant metaphor for what it feels like mentally to try and unpack and acknowledge the hurt caused by our wrongdoers. Such fun design opportunities here, as well! I would love so much to see this on its feet.

This is a fantastic example of staged horror at its best and most effective. Lee's chamber piece is a tight, provocative short with maddening scares and frightening audio/visual sequences, but ultimately, it's about the relationship between the two sisters, and the need for closure driving a wedge between them. This would be amazing to see, be in, or design, and is a piece you NEED to know about, even if you don't like horror. It's that good. And the ending, sometimes so easily a letdown, is perfect here. Highly recommend.

Bluestein-Lyons' adaptation is joyful and light fare, but in no way should that imply it has less weight or purpose. Even aside from the refreshing existence of an LGBTQ+ relationship in which neither partner dies (spoiler?), it is a lovely, first-rate example of the positive lengths that compromise and thoughtfulness will lead to in communication with your significant other. The physical comedy and hijinks are on point and absolutely delightful, to boot. Wonderfully done.

Oh, the things we'll put up with for a nice bathroom. Iraisa Ann Reilly brings the cringe hard in a devilishly genius satire of sharing a country (and camping site) with woke white hot boys. The terrific ensemble cast of characters feel full and lived in, their relationships and histories with one another so well drawn, letting the comedy and commentary take center spotlight. This play is goddamn hilarious, genre-bending, and the first thing I want to see when we're able to make theatre in front of each other again. Produce this, it deserves a long life ahead of it.

Matsushita packs A TON of fun and blood into this little horror comedy. And, "because it's a Japanese film," there's a stealthy, ruminative layer of philosophy underneath all the physical comedy. I adore when one line or moment in a play forces me to reconsider everything that came before it, and the ending is quite the beautiful moment. What exactly did that dream mean? And is our dreamer filled with more regret or sadness than they're letting on? One thing's for sure, read this play, and you won't be.

Cross' drama will take root in your heart! There's some lovely magical realism in here that pops up with a delightful twist (as well as a beautiful reminder that zoom/virtual plays can be fantastic too, they need not be just talking heads of dialogue). The beauty in this one lies within the central metaphor for the long distance relationship, but where it shines is the many ways you can interpret how it affects us for better or worse, as individuals or as a couple. I feel like I could unpack this for hours in the best of ways.

Horror is so difficult on stage because you can't cut away. You have to consistently build and pace your tension down to the second, and Henry does this masterfully. "Down Cellar" is a dark, horrific poem packed to the brim with sick, scary visuals that would both fascinate an audience and give them nightmares. Most frighteningly, the story is all too real, and as the characters reveal more and more of their true selves, our terror grows. A brilliant piece.

No matter how you like your coffee, you'll find Hendricks' monologues dole out sweetness and bitter taste in equal measure. Part Twilight Zone, part purgatory, part body horror, this strange collection of customers and retail workers (many of whom seem to have problems specifically in line with some deadly sins) will suck you in as they regale you with their plights. This piece is charismatic and fun, and you could stage it in oh so many ways. Well done.